Tag Archives: Vinhay Keo

Arts

Critical Mass II: A Short Video Summary

On Wednesday, March 28th, 2018, UnderMain held its second Critical Mass panel discussion on critical thinking in the arts, examining, in part, what role criticism plays as Kentucky artists and institutions engage more readily with a national and international dialogue. This year, our partners were The Great Meadows Foundation and KMAC Museum, with KMAC Curator Joey Yates moderating. We conducted Critical Mass I in 2016 in partnership with the University of Kentucky Art Museum. Critical Mass III will take place in Northern Kentucky in 2020.

Our featured panelist this year was New York-based curator Dan Cameron. Dan shared his extensive experience as a curator, writer, and critic as well as the inaugural Critic-in-Residence for the Great Meadows Foundation. During his March residency he made studio visits to a number of artists in the region as part of the foundation’s goal to help strengthen and support the critical growth of Kentucky artists’ work.

UnderMain promotes robust critical discourse in our region as it aids in the development of the individual artist and an awareness about Kentucky’s position within the larger art world.  Missions aligned as these three partners believe that exposure to criticism plays an essential part in an artist’s development and a community’s growth. Dan’s thoughts were well-balanced by the insights of our three other panelists, Emily Elizabeth Goodman, Tiffany Calvert, and Vinhay Keo.

For those of you who could not join us, we have composed a short video for you. Ten minutes or so of the juiciest stuff. Hope you enjoy. 

Video and Audio
© 2018 UnderMain, Inc.
ALL RIGHTS RESERVED
UnderMain, Inc. would like to acknowledge the following for helping us organize Critical Mass II and producing this short video:
Julien Robson, Director, Great Meadows Foundation
Joey Yates, Curator, KMAC Museum
John Williams, Principal Photographer / Producer SoundART Management™
HD PERFECT™ VIDEO & PHOTO
Eric Cade Schoenborn, Designer, Culture on Demand
Raleigh Dailey, Pianist/Composer
Savannah Wills, Chellgren scholar
KMAC Staff

PANELISTS:

Dan Cameron

Along with his ongoing curatorial projects, Cameron is a widely published art critic, with several hundred book, magazine and catalog essays to his credit. Along with teaching on the graduate faculties of Columbia University, NYU and the School of Visual Arts, Cameron is a frequent lecturer at museums and university campuses around the world. He currently serves on the Advisory Boards of the Madison Park Art Conservancy in NYC and the ARC/Athens Artist Residency in Greece. He has received numerous awards for his curatorial and scholarly work, most recently the 2010 Service to the Arts Award by the Anderson Ranch in Aspen, Colorado, and the 2015 Eminent Scholar award from the American Cultural Association/Popular Culture Association.

Emily Elizabeth Goodman

Emily Elizabeth Goodman is a Lexington, KY-based art historian, curator and critic and Assistant Professor of Art History at Transylvania University. She received her B.A. from McGill University and her MA and Ph.D. from the University of California, San Diego. Her doctoral research focused on the use of food culture in feminist art in New York and California during the era of the “Second Wave.” Her more recent scholarship and curatorial work — which includes the exhibition New Domesticity concurrently at the Morlan Gallery and the Parachute Factory — has focused on contemporary women artists’ examination of craft and domestic labor in the American South. She is the author of a forthcoming article in the journal Performance Research and writes for various art publications including Number magazine and Hyperallergic.

Tiffany Calvert

Tiffany Calvert is Assistant Professor of Painting at the Hite Art Institute at the University of Louisville. Tiffany’s work has been exhibited in group and solo exhibitions including Lawrimore Project in Seattle, Visual Arts Gallery at SVA New York, and Carl & Sloan Contemporary in Portland, OR.  She has been a recipient of a Geraldine R. Dodge Fellowship and residencies at the ArtOmi International Arts Center (NY) and Djerassi Resident Artists Program (CA). In 2010 she was awarded a Pollock-Krasner Foundation Grant.

Vinhay Keo

Vinhay Keo is originally from Cambodia, where he spent the first 10 years of his childhood. He earned his BFA from the Kentucky College of Art + Design at Spalding University. He received the Ellen Battell Stoeckel Fellowship to study at Yale Norfolk Summer School of Art, a Great Meadows Foundation recipient, participated in workshops such as Anderson Ranch Art Center and Anne West’s writing reflection. His work has been exhibited throughout galleries in Louisville, Kentucky with a recent solo exhibition at Moremen Moloney Contemporary Gallery.

Vinhay Keo, “Model Minority” from the Confront 2017 series shown at the Moremen Moloney Contemporary Gallery, Louisville, Kentucky

 

UnderMain, Inc. – a Kentucky 501(c)(3) – is an arts, cultural, and topical online publication that has a wide bandwidth. Cultural affairs is a big basket. Arts of all kinds, community issues, controversies, contests, events, people, and critical reviews. UM is serious and fun. We love playing in the digital sandbox and presenting vivid content to you, ad-free, as we offer support to some of Kentucky’s most talented writers, artists, and performers. (www.under-main.com)

 Great Meadows Foundation is a grant giving foundation, launched in 2016 by contemporary art collector and philanthropist Al Shands. Named for the home that Al and his late wife Mary created, the mission of Great Meadows Foundation is to critically strengthen and support visual art in Kentucky by empowering our community’s artists and other visual arts professionals to research, connect, and participate more actively in the broader contemporary art world. (www.greatmeadowsfoundation.org)

 KMAC Museum is a contemporary art museum located in the West Main District of downtown Louisville KY. Through exhibitions and educational programs the museum examines the multifaceted landscape of contemporary artistic production and material culture. (www.kmacmuseum.org)

  

 

 

 

 

Published by UnderMain, Inc., P.O. Box 575, Lexington, Kentucky 40388

Arts

The Nude: Brutal Beauty at Lexington Art League

Nudity and nakedness are complicated and often overlapping concepts in the history of art; while historically, nudity has been associated with heroism, virility, divinity, and confidence, and nakedness considered a state of vulnerability, shame, and lasciviousness, contemporary artists have continually blurred the boundaries between these two concepts, leading to new understandings of the bare human form.

In the Lexington Art League’s exhibition, The Nude: Brutal Beauty, now on view at Loudon House, the connotations of both nudity and nakedness—as well as their points of intersection—are on full display, creating a show that questions the historical provenance of nudity in art, as well as our own understanding of nakedness today. Furthermore, building on the dialectic between nudity and nakedness, the works in this exhibition challenge us to consider other diametrically positioned notions, specifically the distinctions of past/present, West/East, human/animal, internal/external, or dead/alive. The result of the exhibition, which spans two floors and contains work by over 20 artists from around the world, is a thorough survey of many of the complex issues that arise when considering the stripped down human form.

One of the prevalent issues the exhibition examines is how our contemporary understanding of nudity is not only informed by but also challenges that of previous moments. Two artists in particular, James Volkert and Kiana Honarmand, appropriate canonical, art historical portrayals of nudity in order to make comments on the state of the body in art and society more broadly in our current time. For instance, in his piece la beaute, comme la verite: After Courbet, Volkert has appropriated two (in)famous images by 19th century French realist Gustave Courbet, Sleep and L’Origine du Monde, both of which brought scandal upon Parisian society for their frank depiction of women’s sexuality and the sexualized female body. Volkert has placed the works on rotating slats, the handles of which employ another historical nude—the Venus de Milo—and which can be turned to create one of 2048 possible combinations, pointing to the shifting and ever changing conceptions of nudity and nakedness from antiquity to the Victorian era to the present day, a notion further underscored by Volkert’s inclusion of Courbet’s own words: “La beaute, come la verite, depend de l’epoque ou l’on vit” (“Beauty, like truth is relative to the time one lives”).

James Volkert, “la beaute, comme la verite: After Courbet”

Like Volkert, Honarmand also considers the implications of historical nudes on the present moment, but her appropriation of imagery—largely history paintings from the Italian and Northern Renaissance—involves a more direct intervention on the form in an effort to make an explicit comment on contemporary politics, specifically covering over the naked bodies with lines of Farsi poetry, blocks of color and pattern, and, occasionally, sculptural elements, all of which are derived from traditional Iranian art. The resulting covering of these bodies with this kind of imagery is a direct comment on the programs of censorship and modesty in Honarmand’s native Iran. This gesture also calls into question the role of nudity in both Western and Middle Eastern art and society, both historically and in the present.

Kiana Honarmand, “The Birth of Cupid 2”

In addition to attending to temporal and geographic dualities with regard to the nude, the exhibition also sheds light on how nakedness is a defining line between humans, the only species to clothe our bodies, and all other animals. For instance, Canadian artist Jessica Sallay-Carrington’s ceramic pieces, Self-Love, Preening, and her serial works Bits and Pieces 1 & 2, involve a hybridization of animal heads—often derived from more than one species, like the rabbit face and ears, lamb’s neck and goat horns in Bits and Pieces 1 & 2—that rest upon a naked human body. Similarly, in his photolithographs, Bathers and Nora, Lexington-based artist Todd Herzberg also juxtaposes bird heads on human bodies, but in these cases, Herzberg makes clear that the hybridity is merely masquerade, as we can see the eyes of each of the humans peering out through a slit in the bird’s neck. In both artists’ works, however, Herzberg and Sallay-Carrington call attention to the limits of associating human nakedness with animal nudity.

Jessica Sallay-Carrington, “Preening”

Todd Herzberg, “Bathers”

At the same time, other artists explore the very human nature of nakedness, looking at nudity and exposure as a fundamental aspect of our shared experience as a species and as a community. In his photographs The Head and The Body I, Jim Allen juxtaposes anatomical imagery—a diagram of the intracranial structures and of the muscles of the torso, respectively—onto the body of an older man. The result is an exposure not just of the nude body, but of the naked structures that lie beneath it, revealing the viscera that is common to all humans. This gesture thus uncovers that nakedness does not stop at the surface level, highlighting the vulnerability that is implicit in both exposing our bodies internally and externally.

Finally, while Allen’s work calls into question the duality between the internal and external forms of the human anatomy, Vinhay Keo’s work Surge from his series Sanctuary/Purgatory considers the dichotomy between the living body and that of the dead. In this image, Keo, whose body has been painted white, appears splayed out in a white cave partially buried within a mound of shredded paper; his head, arms, and one leg emerge from the pile, giving the appearance of a dismembered corpse in the process of decay. The whiteness of his skin evokes the image of bodies covered in lime that have been found in mass graves at the site of numerous atrocities, further underscoring the idea that this body is, in fact, deceased. Yet the position of the body, the tilt of his head and the haphazard placement of the arms, might also suggest that he is not quite dead, but rather has endured “la petite-mort”—a French euphemism for orgasm—and has fallen back into the embrace of the pile as a result of this ecstasy. This ambiguity thus reveals how nakedness has a connotation of both life and death, especially in considering the body during moments of temporary or complete surrender.

Vinay Keo, “Self-Purgation”

Many other complicated distinctions arise throughout the work within the exhibition, especially when considering the sheer volume of art that it contains. As a survey of the nude in contemporary art, and one that aimed to allow the artists to “present depictions and investigations of their own perspective on the human figure in all its rawness and wonder,” it has certainly succeeded to capture a breadth of different interpretations thereof. The exhibition therefore builds on the long tradition of nudity and nakedness within art history and does so in a way that shows that there are still further avenues to explore even within the most conventional areas of artistic portrayal.

Images provided by the Lexington Art League.